Although most of the recent posts give details about individual prints, earlier posts discuss some of the subtle principles guiding artists in making images meaningful and memorable.
Regarding the earlier listed prints—those more than a year ago—please email me about prints that you may be interested in to establish availability and current prices.

Condition: a coarsely
printed but elegantly minimal impression that is part of the 'so' or cursive
style designed to capture the freshness of a sketch. There are small insect
holes, old patches of backing restorations and signs of handling appropriate to
the centuries of use since the print was published. The two panels of woodblock
prints that make up the complete composition have been pasted together and laid
upon a support sheet.

I am selling
this rare impression of supreme minimalism and compositional elegance for
AU$214 (currently US$168.36/EUR136.27/GBP121.45 at the time of posting this
listing). Postage for this print is extra and will be the actual/true cost.

If you are
interested in purchasing this early and very poetic diptych woodblock print. please
contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal
invoice to make the payment easy.

There are two
very similar plates featuring the flying goose in the three volumes of “Unpitsu
soga”. In volume 1 (see http://pulverer.si.edu/node/956/title/1),
the goose is shown flying to the lower left and in volume 2 (see http://pulverer.si.edu/node/956/title/2) the goose—as shown in this impression—is flying to the lower right. This
raises the question in my mind regarding why the artist chose such similar
images in mirror directions to each other.

As a proposal,
I wonder if the goose in the first volume is an “arriving” goose while the
goose in the second volume is a “leaving” goose. My reason for this assumption (which
is likely to be flawed as I really don’t know) is simply because this noisy
bird heralds the change of seasons when it arrives from its long flight from
Siberia (or wherever geese are meant to migrate from). Moreover, I like to believe
that the goose in volume one, which shows a more detailed rendering of the
bird, is the graphic equivalent of a real bird whereas the goose in volume
two—this print—is the graphic equivalent of the ghost of a memory: a goose farewell.

Regarding the
technique used in this rather extraordinary print, the Curator of the British
Museum offers the following insights (extracted from Hillier and Smith 1980):